Until not so long ago, the Concerto BI512 by Alessandro Rolla (1757-1841) was thought to be unperformable because only the main violin part was known. The recent rediscovery of the complete parts of the concerto, which had arrived at the library of the Brera civic music institute in Novara in the early 20th century, amidst various vicissitudes partly reconstructed here (and also involving musicians from the German area), has instead allowed it to be studied and published in the present critical edition with the twofold arrangement for flute and violin.
Dating in all probability from the Parma period (1782-1802) in the career of Rolla, an important performer and teacher, considered the foremost exponent of Lombard violinism, the concerto was composed for private use.
The destination for flute is clear, but the piece is also perfectly playable by violin and consists of three movements – the last of which is in rondo form – preceded by a short introduction.
The writing for the main instrument abounds in scales, arpeggios and figurations suitable for displaying instrumental skill which, however, never appears to be an end in itself.
A further peculiar aspect is the rhythmic variety, achieved through a particularly precise writing of the irregular groups, which lends the piece a certain flexibility of accentuation.
